I have the Cherry H3s and they are very nice. My picture is not great but here it is. I am very happy with the finish and the sound of these speakers. RIch

From looking at his web site that you included I see glowing reviews from DownBeat magazine and jazz critic Nat Hentoff. There is also a review that compares his latest album to Miles Smiles which is a seminal hard bop/free jazz album that was one of Miles Davis last non-electric albums. So based on his touring schedule and those reviews I would expect a modern translation of mid sixties Miles. I recall that Wynton Marsalis also played a similar style when I saw him in the early 80s. That being said

Stanley Clarke Trio Jazz in the Garden. I picked this up last night at Borders on a whim. This is Stanley Clarke playing accoustic jazz in a trio with Hiromi and Lenny White. There are a lot of reviews on Amazon about this but let me just say it is good. The sound is good and the music is inventive and melodic. I have Heresy IIIs and the bass sounds awesome so I can only imagine how it would sound on some of the forum big horn systems. This is another example of the value of having shops that actually

According to what I could find Maynard could play an octave plus a step above triple high c. Triple high c is 4186 HZ and an octave above would be 8272 HZ. So the fundamental tones were less than 10,000 HZ. The RF 83 should be able to play this tone easily. My old Kossfire 110s could play my Maynard Ferguson albums. Something does not make sense.

Ok, It was right last night, but 88 Basie Street on XRCD is amazing. If you ask is 30 bucks for the XRCD worth it I would have to say yes. This is the only Basie CD that I have that sounds like the band is really in your house versus on a recording. I picked this up on recommendation from Accoustic Sounds. On this CD you can here all of the instruments. On some big band CDs such as Basie Big Band on the K2 slip case version, the band sounds like it is trapped in the speakers and is trying to get

Gerry Mulligan Live at the Village Vangard on 1960 Verve Vinyl. A few pops and clicks, but nice. I think the best Concert Jazz Band LP is '63 which has a beautiful version of the tune "Ballad". The live albulm is still good.

I just read the book. I got it from amazon. What blows my mind in the book is the chapter on the "The Band that Clipped itself to Death". This is about the Red Hot Chile Peppers abum Californication. Basically the CD was produced at such a limited dynamic range to make it "loud" that it was always clipping. Basicallly the book implies that modern pop CDs are not even close to the quality that the redbook standard allows. They are at extremely limited dynamc range. There is some

While I believe this is the only book available on PWK I agree with the reviews on Amazon that it is lacking in many areas. There is almost no information on PWK the speaker inventor. There are a lot of stories of his later years, but there are better stories in the Rolling Stone article and the many Dope from Hope issues. I was very disappointed with the book. I wish that Klipsch would publish an official biography of PWK and the company. I would love to know stories of the experimentation process

Folks, My parents have a 1965 era SC-74 or 75 console. It has a garrard changer which still works and a tube amp section. It also has full range open back speakers with absolutely no bass. My question is does the tube amp have any value, or would it have been designed to work with the speakers and therefore have limited sonic characteristics. I think these units were expensive in the day and the cabinet is still really nice. The photo is for a very similar unit that I saw on the web. The only difference

Folks, Based on glowing reviews from DownBeat and Stereophile magazine I picked up the CD by Christian McBride's new band Inside Straight. It is called Kind of Brown. This is an accoustic jazz group with bass, vibes, sax, drums, and piano. Every tune of the CD is stellar and Orrin Keepnews is the producer. Keepnews is in the same league as Rudy Van Gelder and produced Bill Evans while at Riverside records. For anyone who thinks great jazz stopped being made in 1962, this is a refreshing release